Issue link: https://digital.copcomm.com/i/1533885
production designer thinking what the house would look like and what he has on his bookshelves. All these things as an actor when I'm starting a part, I'm not thinking about that stuff. I'm thinking about backstory and stuff like that. But to have these department heads like the Property Master, who are experts that are skilled to hone in on these details is invaluable. PROP CULTURE: From an actor's perspective, how crucial are props to establishing an authentic film setting and narrative? JEFF BRIDGES: I'm thinking about a cooking scene we had in The Old Man. I'm not much of a chef personally. But I could see there was a lot of thought and detail put into the props. That was so helpful for me to think about. I loved having all the ingredients put out. What is that called, "mise en place"? Look to the experts who are there, and they will give you some great ideas. I appreciate it when prop people are thinking that way, too. Are you thinking of yourself as this guy or as that guy? Those are all great questions I appreciate from the Property Master when he comes to me, because it helps me to define my character. When you have to make the choice and that becomes the guy! PROP CULTURE: Looking to the experts, let's talk about the guitars in Crazy Heart. Since you are a guitar player, did you come to the project with specific guitars you wanted to use for Bad Blake, or did you work with the Property Master or music supervisor to find the right ones? JEFF BRIDGES: Well, that's one of those blends. T Bone Burnett, who produced the music for Crazy Heart, was such an integral part of me being involved in that project and the music that went into it. We went into detail about what guitar I should play. We looked in the mirror to see which ones looked good and did a lot of research. A lot of the country guys said the top guitar was the Gretsch Country Gentleman. We wanted flat wound strings THE BIG LEBOWSKI TUCKER